Germany’s SideBySide Art Center has announced the commencement of their 6th annual Online Dance Festival. Finalists include Sol Shin & Sunghwa Kim, Wilkie Branson, Rosane Chamecki, Andrea Lerner, Phil Harder, Arantxa Sagardoy, Laura Keil, Aafke De Jong and Jaciel Neri.

Vote for your favorite video on their website.

Click here to view the embedded video.

Proposals are now being accepted for the 2011 season of Dance Films @ The Flea, a new series to run in conjunction with Dance Conversations @ The Flea, a free performance and discussion series at The Flea Theater, now in its eighth year and curated by Nina Winthrop and Taimi Strehlow.

Visit the Flea’s website for more information on how to apply.

The deadline is September 17, so get a move on!

“This program provides professional level production courses with state-of-the-art equipment, movement and theory classes and the option for Certification in Final Cut Pro. The Screendance Certificate requires a two-semester on-site commitment.”

For more information go to http://www.finearts.utah.edu/index.php/site/news/screendance_certificate/

Upwards!

Antonin Artaud believed that “for every emotion there is a breath and for every breath there is an emotion. Starting with your breathing and a very personal moment in your life, choreograph a short movement phrase that best translates and evokes the emotion at that time.

Choose one basic emotion and stick with that. According to Susana Bloch there are 6 basic emotions: anger, fear, sadness, happiness, erotic love and tenderness. Choose one of these and create the solo.

Then shoot a 3min, not longer or shorter, video dance. Criteria: No location. White wall behind you. No “costume”. One spoken sentence or phrase. Use a variety of different shots – ECU, CU, WS. No tripod. Use one or two shots where YOU shoot YOURSELF. One improvised shot. Edit in camera ie. just shoot a short phrase hit pause, then shoot again. Create a storyboard. Plan your shoot. Get someone to help you. Use simple or natural light. Record the diegetic (found) sound. No music.

I would like to create a long annotated video for MoveStream out of all the videos you submit. It forms part of my research: Bending Cinema | emotional and kinaesthetic amplification of the authentic and digitalised body in online screendance.

UPLOAD (as many as you wish) onto You Tube Move, entitled: MoveStream autopsy |……..(and the emotion), making it private See options when you upload.
THEN email movestream@gmail.com the You Tube link, 50 word synopsis, name and contact details. By doing this you also permit me to use your footage. This is also part of a larger project that I am looking to get funds for.

Get your entry in by end of September. Any questions, write to me at movestream@gmail.com
Good luck! Enjoy.
Jeannette

““Dance Camera Istanbul” also focuses on increasing attention and awareness of the collaborations between dance, film, visual arts and music as well as the different mediums and forms of dance. The goals of “Dance Camera Istanbul” are to offer a proper venue in which to screen and share the works, to encourage and educate student dance filmmakers, to spread the knowledge of dance for camera, and to deepen the understanding of Turkish and international dance film practices through panels, practical workshops, discussions and screenings.”

Submission deadline: September 10, 2010.

The first: 23 year-old Cassandra Starr/Stand Up Hungry make some dance happen on a Bushwick rooftop featuring the Manhattan skyline (“Void”, 2010).

The second: Shirley Clarke’s 1958 experimental film “Bridges-Go-Round” shot in and around New York City from the vantage of its major bridges. Clarke once said “You can make a dance film without dancers.”

Consider these samples and their points of intersection…

Click here to view the embedded video.

Click here to view the embedded video.

Curious about 3D dance filmmaking? Check out this 6 minute FORA.tv video by Jacob’s Pillow Dance for an introductory primer.  Award-winning filmmakers Marlene Millar and Philip Szporer of Mouvement Perpétuel share their artistic approach and production process using visual examples from their current collaboration with choreographer Crystal Pite and the National Film Board of Canada.  Millar and Szporer describe how a 3D camera works, share their 3D story boards, take us inside the green screen studio with the dancers, and discuss why they are interested in the challenge of creating a stereoscopic experimental dance film incorporating animation.

Can 3D dance film change how audiences experience and participate in dance? What do you think? Comments and links to other 3D dance film insights welcomed.

Click here to view the embedded video.